Sweeney Todd: The Demon Barber of Fleet Street
Sweeney Todd is the twisted musical tale of a butchering barber out for revenge against the man who coveted his wife and ruined his life. After years in exile, Benjamin Barker returns to London to find his wife dead, his daughter in the hands of an evil judge and the city governed by a corrupt seedy aristocracy. The years of pain and torment have sculpted him a new persona, Sweeney Todd. "There's a hole in the world like a great black pit, and it's filled with people who are filled with shit, and the vermin of the world inhabit it...", he sings. Enveloped by an insatiable lust for vengeance he opens a barber shop above Mrs. Lovett's pie shop, and with her help begins to exact his revenge on this sick society.
Combining the juxtaposing genres of horror and musical, to create an accessible film to fans of both mediums sounds like a daunting proposition. The musical stigma of over sentimentality does not readily associate itself with the violence of Sweeney's sordid tale. But in the capable hands of the gothic maestro, Tim Burton, we are presented with a gloriously grisly tale embedded with dark romanticism that should appeal to a braver but no doubt wider audience than would normally apply.
Burton is a true auteur of modern cinema, with a visually distinctive style that has never been more appropriate for a film. Artfully weaving Sondheim's powerfully evocative score against a stunning backdrop of dark grimy streets, bathed in shadows and cobwebs, he creates an unsettling and creepy atmosphere.
While Burton's direction is superb, it is Johnny Depp, in their 6th collaboration together, who will deservedly reap most of the praise. His vocal talent, although lacking finesse, is suitably deep and powerful, loaded with emotion. It fits perfectly with the unhinged rage of the psychologically damaged killer. Depp's brooding performance encapsulates the very essence of a man torn apart by vengeance. Every facial expression capturing the bleakness of his existence and in turn the smallest touch of empathy. After all, for all the filth and horrors existing in his world, it is Sweeney, once a righteous man, who is the darkest of them all.
There is blood, a lot of blood. Yet the blood is a crucial element of the presentation; theatrical and excessive, but choreographed as if itself were a character. On the surface, adding to the dark and vile tone, but also lending a sense of elegance to Sweeney's murderous craft. The razors themselves are an extension of Sweeney's physical appearance, more violent than Edward's scissor hands but as much a part of him. His madness and depravity are reflected in these beautifully crafted silver blades which slice his victims throats with clean precision. These subtle features resonate in harmony with the music. It is art from two of cinemas most effective craftsmen.
Combining the juxtaposing genres of horror and musical, to create an accessible film to fans of both mediums sounds like a daunting proposition. The musical stigma of over sentimentality does not readily associate itself with the violence of Sweeney's sordid tale. But in the capable hands of the gothic maestro, Tim Burton, we are presented with a gloriously grisly tale embedded with dark romanticism that should appeal to a braver but no doubt wider audience than would normally apply.
Burton is a true auteur of modern cinema, with a visually distinctive style that has never been more appropriate for a film. Artfully weaving Sondheim's powerfully evocative score against a stunning backdrop of dark grimy streets, bathed in shadows and cobwebs, he creates an unsettling and creepy atmosphere.
While Burton's direction is superb, it is Johnny Depp, in their 6th collaboration together, who will deservedly reap most of the praise. His vocal talent, although lacking finesse, is suitably deep and powerful, loaded with emotion. It fits perfectly with the unhinged rage of the psychologically damaged killer. Depp's brooding performance encapsulates the very essence of a man torn apart by vengeance. Every facial expression capturing the bleakness of his existence and in turn the smallest touch of empathy. After all, for all the filth and horrors existing in his world, it is Sweeney, once a righteous man, who is the darkest of them all.
There is blood, a lot of blood. Yet the blood is a crucial element of the presentation; theatrical and excessive, but choreographed as if itself were a character. On the surface, adding to the dark and vile tone, but also lending a sense of elegance to Sweeney's murderous craft. The razors themselves are an extension of Sweeney's physical appearance, more violent than Edward's scissor hands but as much a part of him. His madness and depravity are reflected in these beautifully crafted silver blades which slice his victims throats with clean precision. These subtle features resonate in harmony with the music. It is art from two of cinemas most effective craftsmen.
Labels: Blood, Dark Knight, Horror, Johnny Depp, Musical, Sweeney Todd, Tim Burton, Violence
posted by John Donkin at
08:36
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